Louis Garneray and Topographical Painting as Border Control

Kelly Presutti explores Garneray’s Vues des côtes de France to reveal how topography was deployed as an instrument of state formation and as a means to secure the nation at the site where it is most vulnerable – its borders. She also shows how Garneray’s work was disseminated, often in ways which transcended historical divisions between fine and decorative arts, such as a porcelain service produced at the state-sponsored Sèvres manufactory.

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Louis Garneray and Topographical Painting as Border Control

Kelly Presutti explores Garneray’s Vues des côtes de France to reveal how topography was deployed as an instrument of state formation and as a means to secure the nation at the site where it is most vulnerable – its borders. - video

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View of Étretat in Normandy by Louis Garneray

Louis Garneray and topographical painting as border control

Kelly Presutti explores how topography was deployed as an instrument of state formation in Louis Garneray's Vues des Côtes de France.

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Interior View of the East End of Netley Abbey near Southampton. Summary: A man sketching and a woman standing in the interior of the ruins of Netley Abbey; trees and foliage throughout the scene. Inscribed with title in black ink on verso. Inscribed 'O' in black ink on verso.

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